Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Joseph Kosuth ⁞ Plays of/for a Respirateur

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‘Plays of / for a Respirateur’ An Installation by Joseph Kosuth
October 21, 2015 - fall 2016
Conceptual art pioneer Joseph Kosuth presents an installation inspired by Marcel Duchamp.
Conceived by American artist Joseph Kosuth (born 1945), this installation includes a selection of his work along with a group of seminal works by Marcel Duchamp from the Museum’s collection. The installation takes as its point of departure Duchamp’s notion of “elementary parallelism,” coined to refer to his pictorial treatment of time and movement in Nude Descending a Staircase (No. 2), from 1912. This same expression finds concrete resonance in Kosuth’s ‘An Elementary Parallelism’, from 2013, which is the starting point for the installation unfolding across four gallery walls. For Kosuth, the phrase serves as a springboard to investigate the multiple ways in which his work intersects with that of Duchamp.
Kosuth, a pioneer of Conceptual art, began in the 1960s to employ a language-based methodology as a way to question a purely formal notion of art. Like Duchamp, Kosuth intends to return art to “the service of the mind,” working with ideas as the primary material for art. Manifesting in a deliberate—at times playful—use of words and meaning, Kosuth’s work advocates the interplay of the visual and the verbal.
Toward the end of his life, when asked about the use of his time, Duchamp often described himself as a breather—arespirateur—in which art and life were seamlessly intertwined. In homage to his predecessor, Kosuth’s installation seeks to entangle, blur, and redefine these boundaries, through a process of reference, reproduction, and appropriation.

Sponsors

This installation is supported by Sean Kelly Gallery, with additional generous contributions by Mr. and Mrs. Aaron M. Levine and Mari and Peter Shaw.

Curators

Carlos Basualdo, The Keith L. and Katherine Senior Curator of Contemporary Art; and Amanda Sroka, Assistant Curator of Contemporary Art

Location

Gallery 181, first floor